Osceno -Obscene (10 min; 2012; direction, photography, editing)

SELECTED ON:
-AVVISTAMENTI – IX Mostra Intern. Video e del Cinema d’Autore-Italy
-HB55 kunstfabrik - VACANT # 4 - CORPO 6 - Berlin
-The 2nd NIGHT OF THE KINKY SHORTS - Darkside Club - Berlin
- OTHER CINEMA - AVANT TO LIVE- San Francisco
- the 8th Edition of The Montreal Underground Film Festival (MUFF) - Canada
- Back_Up Festival 2013, Weimar .Germany
-Exploding Cinema on Friday- Brixton -London - UK
- Flexiff 2002-2022 -OFFICAL SELECTION 2013- Cinewest Sidney
- Fall's Other Cinema - San Francisco
-Lago Film Festival - Treviso - Italy
- The 25th Onion City Experimental Film and Video Festival , Chicago, Usa
- "ikono On Air", art festival exclusively broadcasted on TV and on live stream. 6th to the 29th of September
- DAE – Dobiarteventi , 20-24/08, Staranzano (GO), Italy
- Out of Bounds, Molfetta, Italy
- the 35th Mediterranean Film Festival of Montpellier, France

The Obscene, the pornographic, is the physical place where the act is exclusively performative, neither
metaphoric nor representative, as it happens in sport. In Porn, it is the body itself that is the scenario
and the space of action. The actor merely performs a mechanical function, acting out the drama without
psychological insight. In this way, the action is suffered by the subject and the body becomes a mere
object.
Carmelo Bene defines misologically the term “obscene”. The pornographic, or the ob-scene, “ob”
indicating “against”, “reversely”, out-of-scenes, off stage: everything that is not in the scene. This
definition reinforces the idea that Porn represents a kind of advanced stage of a figurative path, which
includes the exclusion of the Ego. In this direction Carmelo Bene modeled porn as a place determined by
the absence of subjects that are psychologically and emotionally active, interpreting it as a place of an
existential aesthetic of its own rather than as a unique model.
It is from this premise that the film approaches the figurative research of Francis Bacon, and of a large
part of modernist painting: the body is no longer a complete and organic unit, or a subject, but a
composition, a fetish decomposed (cubism) or de-compounded (see Bacon) in the fragments of an
anatomical study. Hence, if the body is the Porn’s landscape, subject and then object of the action which
takes place within it, then the idea of the film is to free it from this mechanical dialectic. This is done first
through the fragmentation of the space, and therefore of the body, perceived in independent units,
then in their analogical distortion. The autonomy of the individual fragments, now tattered foreign to
the just de-constructed body space, brings the obscene in a dimension that ranges from the physical
(the space of representation manipulated by analogical filters that make it less recognizable) and the
out-of-sight, the Invisible.
In the film, the out-of-sight imaginative dimension is revealed through its cyclic structure. Obscene
opens and closes in the shadow of an old 35 mm film in black and white, where the mind of a man is
crossed by an eye looking at the screen, which fades inside it at the end of the movie.
The deconstruction has been made through the use of a MiniDv camera, which shoots some porn
movies, focusing exclusively on some anatomical details. During the shoot, super 8 and 35mm amateur
old movies have been used and their frames were physically overlapped to the optics of the camera,
determining the transparency of color and brightness. Other analogical filters, such as magnifying and
distorting ones, old lenses of cameras, cardboard tubes and plastic, glass jars and colored plastics have
been used. This technique follows the obscene in a less recognizable physical space, towards
abstraction. The low definition MiniDV digital format is even more hybridized by an analogical and
material approach that acts on the depicted forms, destroying them, dismembering, deforming and
contaminating them with old reflexes of blurring films. The tension to the invisible, to the nebulous that
passes through the analogical and the filmic, is an aesthetic position that nostalgically jokes with the
hyperrealism of the contemporary preoccupation with high definition.

Loading more stuff…

Hmm…it looks like things are taking a while to load. Try again?

Loading videos…